The most obvious graphic introduction has been the unpolished nature of the KING motif and strap lines. Notably through the tarantula logos on the Deranged and Displaced ranges. Intended as a metaphorical punch in the face to draw attention, carry instant type recognition and to beg the question: Is this an ugly print or is there a deeper message?
Utilising techniques drawn from the infamous drone street artist Katsubot, the logos were hand sprayed to canvas through mesh grills to afford a completely unique and non-uniform type. Something that not only nodded to current artistic sentiment but also represented the wider melancholic feeling in its appearance. Lazy, toy style mark making, applied in a humanly apathetic yet rebellious nature. This is how we feel right now.
But type and logo are just one of many layers that ultimately bring the collection life. The idea that people feel in colour, how physical colourscapes are reflective of outbursts of feeling, further moulded the palettes on fabrics and accompanying prints.
Underpinned with influence from a plethora of artists; the works of Katarina Grosse and Christopher Bucklow can be seen in the Artificial line bringing a subconscious commentary to the AI/Human strap line.
The unique touch of Jochen Muhlenbrink in the Look Up graphic helped with the warmth of a rising sun. A warm finger on a wet window pane. It will get better, it always does.
The rebellion and energy from Leon Golub’s political work, adding further depth to the use of straplines and slogans.
Framed all the while by overarching reference to the works of Jean Dudon and the clean, celestial use of colour and landscape that frames the movement from melancholy to optimism.
Humans will always be drawn to connectivity, to participate in creativity, and in spite of it all, with an ultimately positive outlook, that there will always be a Silver Lining.